Today was due to have been the sixth (sixth!) Bodies from the Library conference at the British Library but, for obvious reasons, it’s not. I can’t, alas, give you a whole day of GAD-based discussion, but I can at least fill an hour with someone from that line-up of exceptionally knowledgable people, Tony Medawar.
Agatha Christie famously wrote the final novels to feature her two biggest sleuths well ahead of their publication, and where Hercule Poirot’s swansong Curtain (1975) was a joyous return to the heights for a character she had grown weary of, Sleeping Murder (1976) — the last hurrah for Miss Jane Marple, a character you can’t help but feel Christie had a growing respect for as she aged — is…fine. Yes, it had a cogency and precision that At Bertram’s Hotel (1965) and Nemesis (1971) sorely needed, but in all honesty the sound and fury on display here signifies something that doesn’t even add up to a hill o’ beans, if you’ll forgive my mixing of classics.
Given the inevitable decline in Agatha Christie’s powers as her career drew to a close, there’s a moderate irony in that fact that she had come off probably the most successful decade in the history of detective fiction writing when she opted to portray Hercule Poirot at his apparent worst.
The majority of Agatha Christie referred to on this blog has been from her later, less popular phase while I work through her canon chronologically. So it’s lovely to be able to refer to some of her early work with this collection of 18 stories originally published between 1923 and 1936.
Dearly beloved, we are gathered here today to discuss Postern of Fate (1973), the final novel written by Agatha Christie, and will be doing so in full, spoiler-rich detail. Read no further unless you’re willing to be spoiled on this, probably the most-disregarded book in Dame Agatha’s oeuvre.